The Marriage of Figaro
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Pierre de Beaumarchais
Pierre-Augustin Caron de Beaumarchais (* 24. Januar 1732 in Paris; † 18. Mai 1799 ebendort), ursprünglich Pierre-Augustin Caron, ab 1757 mit dem Zusatz de Beaumarchais, 1762 nobilitiert, war ein französischer Uomo universale der Aufklärungszeit. Im Verlauf seines abenteuerlichen Lebens betätigte er sich unter anderem als Uhrmacher, Hofbeamter, Musiker, Spekulant, Schriftsteller, Verleger, Geheimagent, Waffenhändler und Revolutionär.(Wikipedia)
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The Marriage of Figaro - Pierre de Beaumarchais
THE MARRIAGE OF FIGARO
A COMIC OPERA, IN THREE ACTS
BY PIERRE DE BEAUMARCHAIS
TRANSLATED BY HENRY R. BISHOP
A Digireads.com Book
Digireads.com Publishing
Print ISBN 13: 978-1-4209-4259-0
Ebook ISBN 13: 978-1-4209-4357-3
This edition copyright © 2012
Please visit www.digireads.com
CONTENTS
ADVERTISEMENT.
THE CHARACTERS
ACT I.
SCENE I.
SCENE II.
ACT II.
SCENE I.
SCENE II.
ACT III.
SCENE I.
SCENE II.
SCENE III.
SCENE THE LAST.
ADVERTISEMENT.
Lord Bacon, in his Essay of Dispatch, has said, that "Prefaces, and passages, and excusations, and other speeches of reference to the person, are great wastes of time j and though they seem to proceed of modesty, they are bravery." And, as many others may be of that opinion, I refrain from offering an explanation of the reasons that impelled me to undertake, in this Opera, the responsibilities of an Author as well as those of Composer, &c. and will only state that one of the motives which induced me to hope for the ultimate success of the attempt, was, the desire I had to improve our National taste for Music, by, at every opportunity, establishing the works of the immortal Mozart on the English Stage.
I have not the smallest ambition for literary fame, either as an Author or a Translator; but, should any kind friend be inclined to attribute to me some portion of merit in bringing this Opera forward—and will take the trouble to look through "The Follies of a Day, Beaumarchais's Comedy, and the Italian Opera
Le Nozze di Figaro" they will perceive the difficulties I have had to surmount, and be enabled, thereby only, to estimate the labor of the work, and to judge how much, or how little praise I deserve.
The obstacles, also, that arose in adapting the Music were innumerable! The reception, however, the Opera has met with, was at once gratifying and encouraging, has repaid every exertion, and forms a most important era in the Musical History of this country.
My warmest acknowledgments are due to the Proprietors for the liberality evinced in the production of this Opera—to Mr. Fawcett for his fostering protection of it, his admirable arrangement of the Stage-business and Scenic-department, and his powerful aid in the Music assigned to him—to Mrs. Dickons and Miss Stephens, for their unremitting attentions, and for the great exertion of their transcendant talents—to Mr. Liston for his valuable services, both as an Actor and a Singer—and to Mrs. Liston, Miss Beaumont, Mrs. Sterling, Mr. Jones, Mr. Durusett, and Mr. Isaacs, for their exertions in the parts allotted to them.
For the Poetry of the Opera I am indebted partly to a friend, whose Dramatic works have long since obtained, and continue to receive the applause of the Public, and partly to the kindness of a juvenile Author: both of whom merit my sincerest thanks, not only for the abilities they have displayed, but for the patience they have shown in the accomplishment of the task.
Henry R. Bishop
Fitzroy Street
March 20th, 1819.
THE CHARACTERS
Count Almaviva
Fiorello
Figaro [Valet to the Count]
Basil
Antonio [the Count's Gardener]
Sebastian
Cherubino [the Page]
Countess Almaviva
Susanna [betrothed to Figaro]
Barbarina [the Gardener's Daughter]
Marcellina
Vassals, Villagers, &c.
The Scene lies in the Castle of the Count Almaviva, three leagues distance from Seville.
The Dances composed by Mr. Noble.
THE MARRIAGE OF FIGARO.
ACT I.
SCENE I.
[A room, indifferently furnished, in the castle of the Count Almaviva.]
Figaro and Susanna discovered.
DUETTO.
FIGARO. [measuring the floor with a wand.]
Fourteen—sixteen—eighteen—twenty;
Right exactly—forty-three.
SUSANNA. [trying on a head-dress of the Countess' before a looking-glass.]
I declare it looks as well, now,
Just as tho' 'twere made for me.
[to Figaro] Turn this way—my cap!—admire it!
Not that I, indeed, require it—[affectedly.]
FIGARO. Well, I must, if you desire it;
But always set your cap at me.
BOTH. Ev'ry hour {he's/she's} more endearing,
Future hope of love so cheering;
Thus the marriage morn appearing,
O! how happy must {we/I} be.
SUSANNA. What have you been measuring so carefully, Figaro?
FIGARO. I was trying whether the handsome bed the Count intends to give us, will stand well here.
SUSANNA. In this room?
FIGARO. Certainly; the Count has generously appropriated it to our use.
SUSANNA. Indeed! then you may take all the gift to yourself.
FIGARO. But where's the reason of—
SUSANNA. The reason's here [pointing to her forehead], and there it shall remain.
FIGARO. I would rather it were here [making the same sign.] Why not tell me your reason, Susanna?
SUSANNA. Because—why, because—suppose I don't choose to give my reason?
FIGARO. I don't understand.—To object to this room, the most commodious in the whole castle.
SUSANNA.